AD revists the singer's low-key escape on Manhattan’s Upper West Side, which was published in our November 1991 issue

“Subdued elegance” is how Christopher G. Ciccone describes the Art Déco setting he created for Madonna’s apartment. The designer, who is Madonna’s brother, by Tamara de Lempicka’s Nue á la Colombe, 1930.

Setting the muted tone in the entrance is a circa 1930 Fresson print titled Nude by French photographer Laure Albin-Guillot and a Pompeian-style klismos chair from the late 19th century.

A series of Moorish pointed arches, repeated on the door of the steam shower and medicine chest, punctuates the bath, which Ciccone covered in rectangular pieces of Italian marble. The bathtub has silvered claw-and-ball feet.

Another oval ceiling light softens the angles of the six-sided dressing room. Over the fireplace is The Young King of the Black Isles, 1906, by Maxfield Parrish. The Art Déco armchair is attributed to Michel Dufet and the dressing table to Paul Follot. The 1920s rug is signed “P. Laconte.” Edward Fields carpet.

Ciccone, who converted three small apartments into one, kept the original circa 1915 leaded-glass doors. Above a second klismos chair in the vestibule is a circa 1790 Irish cobalt-blue-and-white mirror. The circa 1924 gilt-bronze Süe et Mare chandelier has a bowl signed by Daum. Rug by Edward Fields.

“I get strength from my art—all the paintings I own are powerful,” says Madonna. Les Deux Bicyclettes, 1944, by Fernand Léger hangs over the living room mantel. Le Coeur Voilé, 1932, by Dali is framed by Mondrian-style bookshelves designed by Ciccone. The Art Déco pieces—a macassar ebony low table by Jean Pascaud by the sofa, the armchairs at left by Eugène Printz, two walnut bergères en gondole, foreground, by Armand Albert Rateau and the circular lacquered table by Dominique—are all anchored by the circa 1930 rug, initialed “CR.” Sofa fabric is from Clarence House.

A circa 1930 sideboard by Eugène Printz features one of his signature design motifs—accordion-folded doors. Andromeda, 1929, by Tamara de Lempicka and a pair of late-1930s American club chairs are grouped in another area of the living room.

Christopher Ciccone designed a built-in mahogany buffet to complement the circa 1930 dining table and chairs by Jean Pascaud. On the wall is Nana de Herrera, 1930, by de Lempicka. Chair and silk moiré drapery fabrics by André Bon.

“I love the office because I can use my fax machine and look at my Picasso at the same time,” says Madonna.

The gym is completely sound-proofed so that the stereo system (“Madonna likes to feel the music,” says her brother) can’t be heard elsewhere. At left is Portrait of a Boxer, mid 1940s, by Claggett Wilson and an untitled 1927 photograph by Frantisek Drtikol.

Stainless steel resonates through the kitchen, in contrast with the rest of the apartment. “I didn’t want to do an Art Déco kitchen,” says Ciccone. “You get the best appliances and work around them. But the only reason there’s a microwave is that Madonna likes to make popcorn.” Sub-Zero refrigerator.

Along the barrel-vaulted hallway, which Ciccone designed and architect Stephen Wang executed, are numerous vintage prints, including Nude, 1929, by George Platt Lynes (at rear) and a series of nude distortions by André Kertész.